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E I 1 




2 2 

An Interview With the 

Paterfamilias of Pop-up 

Part One of Three 

On August 25, 2001 Waldo H. Hunt was interviewed at 
Intervisual Books in Santa Monica, California. The 
interviewer was Kate Sterling, movable book dealer at 
www.popupparadise. com 

K: This is the second time I've seen the wonderful pop-up 
books you have on display in the Intervisual offices, the 
first time being during the Movable Book Society 
Convention in 1998. I understand you're working on 
finding a permanent museum for your collection. How is 
that going? 

W: Well, we have a lot more than you've seen. We're 
working on it and we have a number of opportunities. Not 
just the antique pop-up books, but books showing the 
whole history of pop-ups, including the best of the 
contemporaries. We have a number of opportunities for 
the museum. We'd like to have it in Santa Monica, the 
pop-up capital of the world, and the city is supportive of 
that effort. As you know, I also gave U.C.L.A. a collection 
of over 500 pop-up books ten years ago, including a lot of 
original Meggendorfers. Between what I have and what 
they have, I think we have the best collection of movables 
in the world. 

K: It would be wonderful to give more people an 
opportunity to see the collection. 

W: There's a lot of interest. Huell Howser did a half-hour 
tour of the collection for his TV show. As a result of his 
visit, we were booked for nine months in advance for tours 
by school children. We also get a lot of tourists. So that's 
what I'm dedicated to doing - getting a real museum 
where we will be able to bring school classes, show them 
how to make pop-ups and give them a tour. There's also 
a six-month exhibition of my pop-up books at the 
downtown Los Angeles Public Library, in the Getty Room. 
Most of the people who come to see the books want to buy 
something, so we'd also like to have a gift store. 

K: What can you tell me about Harry Potter? 

K: OK, I'm glad to hear that. You've given many women 
opportunities to work in the pop-up field. But how did you 
get the rights to do the Harry Potter pop-up books? 

W: Well, it was through a long association with Warner 
Brothers. We produced the Wizard of Oz from the original 
film of the 1939 movie. We had to do a tremendous 
amount of retouching - taking the old movie film and 
getting a book out of it. It's a beautiful book. And we have 
a CD of Judy Garland singing "Over the Rainbow" and 
"Follow the Yellow Brick Road" in the book. With that 
book, we earned a shot at Harry Potter. 

K: There are so many aspects of producing a product 
you're happy with. There's^producing a book that will sell 
and also has value to the child. And keeping all your 
people working. I can tell you feel a lot of passion about 

W: I do. And I have to tell you one other thing. The secret 
of my success is to have a strong ego. And I want you to 
know that, in addition to all the nice things you have said 
about me, I am the family Bar Room Baritone. I have a 
retained position in the family. But everybody's got to be 
half drunk. Then I sound good. 

K: That will work. I'm a little hard of hearing. But I do 
have to start doing what I'm here for - asking you some 
questions about your life and how you got started 
producing pop-up books. So why don't I start at the 
beginning. Where did you grow up? 

W: It's a long story. I was born in Chicago. I lived in 
King City, California, where my dad was the minister of 
the Congregational Church. King City had a population of 
about 5,000. Do you know where it is? It's south of 
Salinas - Steinbeck country. It's the red bean capital of the 
world. And from there we moved to Salt Lake City. My 
father became the minister of the First Unitarian Church 
of Salt Lake City. We were there for 10 years until I was 
12, when we moved to the San Francisco Peninsula. 
Burlingame is my family home. I went to school there - to 
San Mateo High and San Mateo Junior College. And then 
briefly to Stanford. 

W: Harry Potter is a girl. 

Continued on page 2 

The Movable Book Society 

JSSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annua! membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 1 1654, New Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is May 15. 

Continued from page 1 

K: What were your interests in school? 

W: I'm a writer. When I was in the Boy Scouts, I did a 
monthly publication for my troop. I used to type it up and 
make copies with that old gelatin - what do you call it? 
And when I started high school my father didn't want me 
to have just college preparatory classes, so I took print 
shop. One hour of print shop a week and band and typing. 
If you took only one hour of print shop old Mr. Morris, 
who ran the print shop, knew you weren't serious, that you 
were just goofing off. So I would go in there and sit for an 
hour with nothing to do. So I decided to produce the 
Freshman Journal for San Mateo High. I edited and 
published it every week. 

K: What did you do when you finished school? 

W: The war came along, and 1 went to work for a war 
plant in San Bruno called Eitel-McCulloch that made 
radar tubes. That was pretty critical at that time, you 
know. That was one of the things we had that the Japanese 
didn't have - radar for the ships and the planes. So I got 
a number of deferments. I was a foreman in the chemical 
department, but 1 also produced the company magazine, 
the Eimac News, a 24-page pictorial weekly. When I went 
overseas, that magazine followed me everywhere. It was 
amazing. It was like a lifeline. We sent it out to every 
employee who had a son, boyfriend - anyone who was 
overseas in the Navy or the Army got a weekly copy of the 
Eimac News, so that was a real thrill. Being a writer, I 
loved copy. I got paid a hundred dollars a month extra for 
producing the magazine, so I was a very wealthy young 
man. I was making $350 a month in 1943 - 44, a lot of 
money. Then I went into the Army where I was making 
$15 a month. 

K: And you ended up in France? 

W: I managed to get over to Europe for the invasion of 
Southern France, Marseilles. It was the Seventh Army. 
When we passed over the Rhine and into Germany, we 
became part of General George Patton's Third Army. I got 
a battlefield commission shortly before the end of the war. 

K: That means you were made an officer. 

W: Yes. And because 1 was an officer, my division came 
home in '45, but I got home in '47. They had a rule if you 
were an officer about how soon you could come home, 
depending on how long you had been an officer and how 
long you had been overseas. The reason for that is that they 
had been anticipating an invasion of Japan, so they wanted 
to leave the young, inexperienced officers in Germany for 
the occupation, so I was there through '47. I had the most 
amazing experience because so many officers had been sent 
home. There was a great shortage of officers. At one point, 
I was the trial judge advocate of the Fourth Armored 
Division and I was prosecuting murder cases with no legal 

K: Wow, what a lot of responsibility. Did you have 
guidelines for the rules of evidence and that sort of thing? 

W: Well, I must say that the officers who sat on the courts 
marshal were pretty good. "Lieutenant, you're leading the 
witness." You know, I was bushy tailed at 27 years old. They 
were general courts marshal, so you had six senior officers 
who were the jury . Fortunately, I didn't get any convictions. 
I didn't have to live the rest of my life saying, "My god, I 
hung that poor guy by his neck until he was dead." But it 
was a fascinating experience. I was also head of an 
engineering regiment that built bridges. During my last year 
in Europe, I was the Post Exchange and Commissary Officer 
for an area between Stuttgart and Munich. They were 
bringing the American families in and I was in charge of all 
the post exchanges and all of the food. I set up gas stations 
on the Autobahn. There are two of them still on the 
Autobahn between Stuttgart and Munich, and snack bars 
and beauty shop, ice cream factory. I did all this with cartons 
of cigarettes, because a carton of cigarettes costs a dollar, 
and was worth $20 on the black market. We bought all the 
lumber and paid all the workers, the Germans, with 
cigarettes. That's how you got things done. I had this empire 
for a year and then I came back and I couldn't get a job in a 
gas station. Well, it wasn't quite that bad. 

K: Is that when you did a spin as a disc jockey? 

Continued on page 13 

Frankfiirt Book Fair 2001 
Part One of Two 

Theo Gielen 
The Netherlands 

The Frankfurt Book Fair 2001 opened on October 10, 
just less than a month after the terrorist attacks of 
September 11 th . Before the opening there were a lot of 
rumors about how many publishers (particularly 
American) would cancel their attendance at this year's 
Fair. Though we could understand their fear of flying, we 
were eager to learn if we would see enough of the newly 
planned projects to stay informed about the worldwide 
state of affairs of movable and pop-up books. After all, the 
world of pop-up and novelty books appears to be, for the 
greater part, an Anglo Saxon business. 

Our fears proved unfounded. All the major American 
publishing houses did attend and, curiously enough, it was 
some of the publishers from the far east (Japan, Australia) 
that did'n come since they didn't trust flying either one 
way (via the USA) or the other (via the middle east) to get 
to Frankfurt. They stayed home. The awful events of 
September 1 1 th were the talk of the day and resulted in a 
lot of extra security measures. They also overshadowed the 
Fair since so soon after the event it was not clear what 
economic consequences the attacks would have. And a 
large scale book event such as the Frankfurt Book Fair is 
first of all a place of business. 

In our opinion the general state of the world economy 
and its uncertainties (even before the events of 
September), and the enduring high exchange rates of the 
US dollar and the pound sterling are to blame for this 
year's rather disappointing level of pop-ups. A look at 
what I saw in Frankfurt continues last year's impression 
of a decreasing market for special, deluxe pop-up books in 
favor of the more marketable, lower priced toddler's books 
with simple mechanisms for a mass market. Surprisingly 
it was some of the (eastern) European publishers who had 
this year's most collectable items! 

The first thing at the Fair that dampened my 
enthusiasm was the news that Carvajal (Cargraphics) had 
stopped their hand assembling of pop-up books in both 
Colombia and Ecuador. As a result, they did not attend the 
Fair and so I painfully missed my usual first stop at their 
stand. They previously showed the most spectacular books 
of the preceding year's production and by doing so they 
offered me a first orientation in the field. The people of 
Carvajal told me last year they felt the rivalry of cheaper 
production in the far east (China, Hong Kong), but they 
were confident that packagers and publishers would 
continue to find their way to South America for the 
production of the more complex paper artwork. 
Unfortunately, the cost has now increased so much that 
they have discontinued production. What a pity they had 
to stop after over 30 years of producing all of the 

highlights of the "Second Golden Age" of movables and 
pop-ups. And also a pity that the experience the company 
built up in all those years will disappear! Who will write the 
1968 to 2001 history of this leading company? Who will do 
the bibliography of all items that they have done (books, 
inserts, LP- and CD-covers, pop-up postcards, etc.)? It would 
also be the history and bibliography of all books, artists, 
paper engineers, publishers and packagers of the period 
Mark my words, in a short time we will find remarks like 
"produced and hand-assembled at Carvajal, Colombia" in 
the descriptions in antiquarian bookseller's catalogs as a 
special recommendation of the quality of the offered item 
(and as an argument for added value). 

A second reason for disappointment was the absence of 
Intervisual's Mr. Waldo Hunt for health reasons. After 
almost 30 years Wally had to leave the honors to his 
employees. So I also missed my other anchor in the 
interminable flood of books. More than that, I missed the 
much appreciated discussion of and evaluation of the new 
items, the invaluable source of inside information and small 
talk on the world of pop-ups, and last but not least the best 
guide to the new projects offered by his leading company, 
Intervisual Books. While he could not be replaced by his 
always busy, negotiating workers, they gave me their special 
Frankfurt catalog and the opportunity to go through the 
published books and dummies at the stand. 

At Intervisual Books, too, the tendency to produce lots of 
toddler's books with simple mechanisms or just foil aimed 
at mass market sales was clearly visible. 1 thought I heard 
Wally saying, "We do produce for the market, not for the 
collectors." I saw the twinkle in his eyes when I, in my 
mind, answered that he could at least do one special 
collector's item, with lots of paper artwork and a huge 
number of glue-points, with large profits from sponsorship 
of internal commercial booklets. Riposted by him, as usual, 
with a, "What profit ...?" Make sure, Mr. Hunt, to attend 
again in 2002! 

Intervisual had on display a large number of books 
produced earlier and described when seen as dummies last 
year. The highlights for me were Rives' If I were a Polar 
Bear (1-581 17-046-7) and Jennifer Laurence's Sad Doggy 
(1-581 17-066-1), with its great illustrations by Tim Ewing. 
New items, hitching onto the Harry Potter hype, were the 
"Deluxe Pop-up Book" of Harry Potter and the Sorcerer's 
Stone and the 3-D carousel pop-up of Hogarths School, 
proudly announced as having already sold over 600,000 
copies worldwide in co-editions. Dummies were seen of a 
(fifth) book in Krisztina Nagy's series of Fuzzy Bear books, 
Fuzzy Bear 's Potty Book with lift-the-flaps, pop-ups, a place 
for the child's photo and a toilet flushing sound; a third 
sequel in the Icky Sticky-series, The Icky Sticky Chameleon, 
illustrated by Jeff Mack; and two new Peek-a-Boo titles with 
lift-the-flaps and die-cuts, illustrated by Salina Yoon, Farm 
Animals and Wild Animals, both in a style heavily 
reminiscent of Kees Moerbeek. Continued on page 12 

Whizz and the Web 
Hi-Touch Meets Hi-Tech 

Adie C. Pena 

Makati City, the Philippines 

I received a rather unusual piece of mail some time the 
second week of January. The logo on the square white 
envelop was totally new to me. Inside was an enlarged 
"interactive" facsimile of the logo. With one pull of a 
string, the white oblong magically transformed into a 
Christmas tree. I turned the card over and found a very 
familiar address — Garden Cottage. Hmmm... very 
familiar indeed. After all, for the past few years I've been 
receiving unique holiday greetings from this address. But 
what was this new logo all about? 

Attached was a covering letter that answered some of 
my questions. It began: "'My apologies for this rather 
formal letter, and late Christmas card. As you might know 
I am on my own again and have set up a new company 
called Whizz Education Ltd." My eyes darted to the 
bottom of the page and found Ron van der Meer's name 
and signature. Can somebody please tell me what's going 
on? How long have I been living under a rock? 

The rest of Ron's note read: "We are working on a 
massive educational book programme, which combines 
our amazing and unique three-dimensional books with a 
truly innovative website that is unrivalled by anyone in the 
world. We are now in the position to be our own publisher 
in the UK, thanks to our financial backers and an 
inherited sales force of over 22,000. With new members of 
staff and our own team of educational specialists we hope 
to launch our project in September 2002. Apart from our 
'usual' books we have some very ambitious plans for the 
future and would like to share these with you at the 
Bologna Book Fair." 

I immediately sent an e-mail to the address I found on 
the letterhead. I wrote: "This certainly is an interesting 
development worth sharing with the rest of our pop-up 
planet. Would you be amenable to a 'virtual' interview, 
i.e. via e-mail, regarding Whizz for an article in Movable 
Stationer)'!"' Ron replied positively a few days later. I 
quickly transmitted a VERY short list of questions. 

I began the e-nterview with this set of queries. "You 
wrote in your covering note: 'As you might know I am on 
my own again...' 'On your own again'? Pardon the 
ignorance but when did this development occur? What 
happened to PHPC? What about the 'Ron van der Meer' 
brandname? Who now 'owns' the titles in your old 

Eight days later, Ron's reply arrived via e-mail. He 
wrote: "It is exactly a year ago that I split up with 

Holland. My brother and his team joined me in January 1997 
and to cut a long story short, it did not work out. He is back 
in his health clubs and I am back creating projects I love. 
PHPC is still based in Holland and is using the backlist to 
fulfil contractual commitments to publishers and to pay off 
various debts. We have agreed that I will get my IP rights to 
all the books, done in that period, back in 2 years time." 

My second (and last) question was: "The name of your 
new company is 'Whizz EDUCATION Limited' and you 
make mention of 'a massive EDUCATIONAL book 
programme' and your 'own team of EDUCATIONAL 
specialists.' Why the emphasis on 'EDUCATION'? A 
simple case of 'niche marketing' and/or 'brand positioning' 
— or is it three-dimensional, interactive book 'art meets 

Ron replied: "My new company is moving in an exciting 
new direction. For the last couple of years I have felt that as 
far as pop-ups are concerned we reached a pinnacle, 
especially with the Architecture Pack. How much more 
informative can one make a book, how much more ingenious 
the paper engineering, how much bigger and more 
complicated can we get. 

"As you know publishing is changing, a lot of 
consolidation is going on, with fewer buyers and smaller 
quantities. Because of that there are also now fewer players 
and printers in our 'contracting' business. 

"Of course there will always be a pop-up market and 
there will always be the big one this year or next, but things 
are changing around us and we have to either follow or lead. 

"Our strength and speciality in the pop-up business was 
and is to inform, use paper engineering to explain something 
much better than words or pictures could, and only use it if 
it made sense, we employ interactive elements to 'pull' the 
reader into the subject, so that they are 'educating' 
themselves without realising it and having fun at the same 
time, and because of that our books have a 'retention' value 
of over 70%, while it is only 20% for other books. 

"Our strength is to make very complicated subjects 
understandable, by breaking it down into 5 to 6 sections 
(spreads) and cramming it full with short succinct writing by 
our top authors, with up to 60,000 or more words. Our 
readers do get value for money, in terms of information and 

"With our new company we are combining this approach 
and attitude to e-learning via the web. The web with its 
enormous possibilities is in my opinion the future, especially 
for people like us. Most publishers and web developers use 
it mentally and physically like the early designers of the 
motorcar, i.e., a horseless carriage with a motor, instead of 

something completely new. 

"In order to prove this I picked on a subject that we 
have done in the past; something that was very successful 
(we sold over 1.2 million books); is international and 
reasonably black and white in logic. It's mathematics. 

"We are going to produce over 20 books, 6 to 7 
complicated ones and the rest of medium complexity, for 
the 3 to 17 years of age, over a 2-year period. With it we 
are developing a website that can cover any curriculum in 
the world, is 100% interactive, uses artificial intelligence 
that acts like a personal tutor to any child in the world of 
any ability. 

"Our website will be the only one in the world that 
tests each child, for free, makes an assessment of that 
child's strengths and weaknesses, writes an individual 
programme based on that and the local or national 
curriculum and continuously 'looks' over the child's 
shoulder, assessing their performance and changing their 
tasks and programme accordingly. We are your child's 
virtual on-line tutor. No-one else does that. 

"It is fully animated, each part of the programme is a 
movie (up to 1 500 per academ ic year), it's fully interactive 
with voice recognition for the very young, and caters for 
the weakest computer. We are the only ones that explain 
first, give them an exercise and if answered wrongly 
instantly show them what they did wrong and how to do 
it. If they don't understand it we go down a level or more, 
instantly, until we know they understand it. 

"Everything is recorded on their file, and we will be 
able to give the parent, the teacher or the government, 
information about the level of maths per child, per street, 
school, state or country. We can let you know that 
although the answer is wrong (say in a sum that 
incorporates multiplication and division), your child did 
understand the multiplication part, but had problems with 
division. We will give your child some extra work on 
division, straight away. 

"We cater with our books and website mainly for the 
home market. Our books will be distributed by our foreign 
publishers, (I have six European countries lined up but not 
the US yet) and apart from being interactive hands-on 
books on their own, they do our advertising for the web as 
well with a CD Rom in the front cover, that explains and 
shows samples of the website. The CD also gives parents 
automatic access to our site for a free comprehensive 
assessment (duration approx. 45 min.) for their child. 

"For this project I needed a team of designers, editors, 
paper engineers, animators, Flash programmers, 
educationalists, IT managers, an IT company to write our 

data handling and create our 'engine' etc. Now you know 
why I used the words 'massive.' 

"We still managed to squeeze in a couple of other 
projects. A prestigious one about the artist Alexander 
Calder, his 'Circus' from the Whitney museum, for which 
Mr. Len Riggio of Barnes and Noble, who is an art collector, 
has committed himself with 30,000 copies, before he saw 
anything and involves the family estate's agent Wildenstein, 
who is organizing it. It coincides with a special exhibition in 
November this year, which will then travel around the 
world. We are also producing a collector's 'Deluxe' version, 
greeting cards, special displays etc." 


I wrote in my original e-mail: "My succeeding questions 
will be based on your replies." I didn't need another set of 
follow-up questions. The man in the red shoes had said it all. 
Hi-touch finally meets hi-tech. Two interactive media — 
movable books and the internet — are about to collide 
and merge. Wow! 

The wizard of three-dimensional publications will soon 
be WHIZZ-ing on the Web. Pop-up ladies and gentlemen, 
welcome to the future. 

Pop-up Exhibits 
International Youth Library 

The International Youth Library in Munich, Germany 
will hold an exhibit of pop-up and movable books from June 
21 to August 11, 2002. The titles, both historical and 
modern, will be drawn from the vast resources of the library. 
Information about the exhibition can be found on the web at: 

The library has a collection of nearly 500,000 books, with 
470,000 volumes of children's and youth books in more 
thanl30 languages and nearly 30,000 titles of secondary 
literature. 1000 publishers from around the world send 
sample copies of their latest titles to the library each year. 
Approximately 9,000 books are cataloged annually. 

Pop-up Exhibits 

Osborne Collection 

"This Magical Book: Movable Books for Children, 
1771- 2001" will be held at the Canada Trust Gallery, 
Toronto Reference Library, 789 Yonge Street, Toronto, 
Canada from April 13 to June 9, 2002. Members of the 
Movable Books Society are cordially invited to the 
opening event, to be held April 12, 2002 at 6:30 p.m. at 
the Canada Trust Gallery. 

If you turn up the folds of this magical book, 
And at its strange pictures attentively look, 
You will conjure odd scenes which you ne'er saw 

And which at each turn will amuse more and more. 

Transforming Performers. Dean and Son, [1874] 

An exhibit of items from The Osborne Collection of 
Early Children's Books, Toronto Public Library, this 
display will range from harlequinades and peepshows to 
volvelles and pop-ups, with 69 books and novelties. There 
will be a 64-page illustrated catalog. Order information 
will be posted soon on the Osborne Collection's website at: 

Los Angeles Public Library 

"POP-UP! 500 Years of Movable Books: Selections 
from the Waldo Hunt Collection" will be exhibited in the 
Getty Gallery of the Central Library from August 24, 2002 
to January 12, 2003. The library is located at Fifth & 
Flower Streets in downtown Los Angeles. 

The exhibit will feature approximately 300 antique and 
contemporary interactive books from the world-renowned 
collection of Waldo Hunt, touted as the "King of 
Pop-ups." Highlights will include a 15th century Italian 
astrology book, a copy of the world's best-selling pop-up 
Haunted House by Jan Pierikowski, and a pop-up by Andy 

The event is presented in association with Intervisual 
Books, Inc. and is made possible by the Library 
Foundation of Los Angeles. 

A private reception will be held prior to the opening. 
Invitations will be sent to members of the Movable Book 
Society who live in the area and would like to attend the 
reception. Please let Ann Montanaro know if you would 
like to be included on the mailing list to receive an 
invitation to the opening from the library. 

I he pop-up Transamerica Corporation Tower in the 
September 8, 1986 issue ofTime magazine, that is. 

Victoria Gilbert, media director of the advertising agency 
Delia Femina Travisano & Partners, brought along some 
children's pop-up books to a client meeting, hoping to 
convince the insurance company to run a three-dimensional 
representation of the San Francisco skyline within the pages of 
a widely-circulated weekly magazine. The Transamerica 
executives bought her idea and the rest, as they say, is 

Just one of the numerous untold stories you'll be hearing 
at the pop-up advertising exhibit, scheduled in the fall of 2002 
at the Eisner Museum of Advertising and Design in Milwaukee. 

Make your plans now for that much-needed (commercial) 
break next September. And enjoy three days of movable 
feasts, friends and fun! 



SEPTEMBER 19 - 21 , 2002 

Berlin Pack 

The Best Pop-up of Frankfurt 2001 

Theo Gielen 

Michael Lewitscharoff, Das Berlin-Paket. Das 
neue Berlin: Architektur, Kultur und Geschichte 
der Stadt mit dreidimensionalen Bildern und 
uberraschenden Effekten. Miinchen, Ars Edition, 
2001. ISBN 3-7606-1842-6. Euro 59.00. 

Undoubtedly the best pop-up book seen at this year's 
Frankfurt Book Fair is The Berlin Pack: The New Berlin: 
Architecture, Culture and History of the City with Three- 
dimensional Pictures and Surprising Pictures. It is 
proudly presented in nice displays and with supporting 
computer presentation by the Munich-based publisher Ars 
Edition. The company produced the German editions of 
the Van der Meer packs and, apparently, they looked so 
good to them that they have now come out with their first 
pop-up project designed in-house with a similar style and 

The large 
book (28.5x 
28.5 cm.) and 
thick (over 
5cm.) lists 

Lewitscharoff as 
the author but 
the imprint 
shows that 
almost twenty 
people were 

Sponsored by over 30 companies and organizations - 
credited with their logos in a small booklet inside the front 
cover - the book has grown into a superb promotional 
item for the city. Berlin is again the capital of Germany, 
the seat of government and parliament. 

Berlin was divided by the Berlin Wall during the Cold 
War, thus preventing the rebuilding of its center, ravaged 
by the Second World War. The last ten years have shown 
unprecedented building activities. The Berlin Pack shows 
the provisional results but it also includes such historical 
icons as the Brandenburg Gate, the famous 
Friedrichstrasse, and the Reichstag. 

The Text 

The use of a small font permits the inclusion of a lot 
of text. Interesting and detailed information is given about 
the stirring history of the city that played such an 
important part in European history: the cultural life, so 
turbulent especially in the 1920's and 1930's; the period 
when the city was divided in Berlin-West and Berlin 

Capital of the German Democratic Republic and the frontier 
between the two, the Berlin Wall; the museums and their 
treasures from all over the world; the recreational aspects, 
etc. It is an impressive and well-documented guide to Berlin 
that even for your reviewer, who knows the city rather well, 
offered a lot of new information. And, remarkable for this 
promotional work, the black pages of the history of the city 
are there as well. The Hitler years of the '30s and '40s, have 
not been disguised. With over 1 00 colored and 40 black and 
white pictures (illustrating the historical information) well 
placed in the text, the contents are a pleasure to read. 

The Design 

As mentioned above, the design borrowed heavily from 
the packs previously done by Ron van der Meer. It has the 
same format and general look, same folding out half pages 
that substantially enlarge the space available for textual 
information and all kinds of extras (e.g. small pop-ups). It 
has paste-ins and inserted small booklets and is aimed at an 
adult readership. 

Having said that, we must say that the staff involved has 
done a great job and the result surely can compete with the 
best ones done by Ron - a compliment in itself. The first 
seven of eight (!) spreads have beautiful designs with 
elaborate pop-ups in the center and a mixture of text and 
pictures placed around. Additionally, all seven spreads have 
half-page flaps to the left and the right side that add an extra 
14 (!) pages used to build-in or hide all kinds of paper 
artworks. Another benefit of these flaps is that they 
ingeniously fill the space between the spreads as - only 
partly - necessary to stow away the flattened papers of the 
pop-ups. The overall result is a neat bookblock, an 
acknowledged problem in most pop-up books! 

Yet another way of enlarging the amount of information 
is through the use of small booklets, pasted down (and neatly 
held closed!) or inserted in pockets, nicely printed over with 
exactly that part of the booklet so it disappears in the pocket. 
The booklets are shaped, for instance in the form of the 
outline of the remarkable building of the Berlin Symphony 
Orchestra, designed in 1963 by Hans Scharoun. There is 
even a miniature reprint of the menu of the legendary Hotel 

A variety of movable and novelty techniques are used 
including a pull-tab to slide in a window to see the building 
activities at Potsdam Square from 1995-2001. An acetate 
sheet with a black and white construction drawing of a 
futuristic dome transforms when pulled out into a color 
picture of the projection of the dome in the place where it 
will be built. There are changing pictures in a Venetian 
blind technique and a pull-tab that ingeniously opens the 
picture of the Opera House to show the performance inside. 
A trapped pull-out shows side-by-side the different states of 
the density of buildings in the center of Berlin from the 

plans of 1940, 1998 and 2000. A waggling picture enables 
the Alfred Jackson Girls to dance their 1922 Can-Can. 

The eighth spread has a panoramic plan of the center 
of the city with all buildings illustrated in perspective and 
marks the buildings (not yet built and finished projects) 
presented in the earlier spreads. This spread also has a 
128 mb CD-Rom that offers both a virtual walk through 
the historical city center and lots of related historical video 
and audio fragments, partly in English, amongst them 
John F. Kennedy's speech with the famous "Ich bin ein 

The Pop-Ups 

After all my praise, the best part of the book still has to 
be reviewed. The seven spreads offer gorgeous 
architectural paper constructions. There is a beauty of a 
Brandenburg Gate, the best-known icon of Berlin. The 
four-in-hand on top seems to me a bit out of proportion 
(too small) and the Prussian eagle on top 
indistinguishable, but the whole unfolds magnificently and 
all walls close precisely (as is seldom seen). From the 
second spread pops the model of the massive skyscraper, 
based on an unusual triangular ground plan, as designed 
by the local architects Kollhoffand Jochimsen and built in 
red bricks, reminiscent in its construction of the "set-back- 
skyscrapers" built in the US in the 1930s. Again 
everything has been carefully executed and not only the 
facades - except of a small wall at the front (a pity since it 
is rather annoying) - but also the arcades are in shape and 
all roofs close. The inside of this model is visible and is 
also printed in color. 

Though the next spread has a very simple v-fold pop- 
up, the choice for it seems well considered since it is 
appropriate to show the deep perspective look in the 
Freidrichstrasse as it will be once the renewal is finished. 
Remarkable is the way the designers have used the 
backside and the part of the spread behind the v-fold. 
They did a collage of black and white pictures of this 
famous street as it was in the "Golden Twenties," then the 
center of nightlife, cinemas, and cabarets as we know it 
from the books of Isherwood. The backside of the middle 
part of the rising pop-up functions as a billboard and is a 
gallery of movie and theater posters of the time. The 
whole spread is an example of how simple paper artwork 
using a clever design can have a great result. Pleasantly 

The model of the Reichstag is another masterpiece of 
paper engineering. The building once again houses, after 
a break of almost 65 years (since 1933), the federal 
German parliament. As a symbol of its openness it 
recently got an all-glass dome. Hidden behind an 
accompanying flap there is a paper model of this glass 
dome, partly worked open to show its construction secrets. 

The new Jewish Museum, built by the architect Daniel 
Libeskind, gets a relatively small pop-up model but a very 
tricky one since the floor plan of this gem of modern 
architecture is so unusual. It can best be described as a flash 
of lightning. Again, the model has been partially worked 
open to show its internal structure. 

The last two pop-ups show other specimens of the 
modern architecture that have given Berlin a new look as a 
21 st century metropolis. The building "Hackesche Market" 
was inspired by the 19 th century ghettos where the working 
class people lived. The model of the "Ludwig-Erhard- 
House" has been worked open to show its innovative high- 
tech construction, a masterpiece of paper-engineering. 

As said, the half-page flaps enclose additional, small but 
effective pop-ups: a model of the Greek Pergamon altar and 
one of the famous Egyptian sculpture of Nefertiti, both 
treasured at Museum Isle; another of a rounding classical 
advertising-pillar, a "Litfass" as first designed in Berlin 
1853, and more. 

Together it is a great collection of high quality paper 
artwork done by two young paper engineers who only 
recently finished their studies. Stefan John (working under 
his firm's name, Refeka GmbH in Munich) and Uwe 
Leetsch. I was told this is their first book. For sure they can 
be proud of it. Let us hope they will fulfill the great 
expectations shown by this first work by doing more books. 


At the end of the pack there is another surprise, in a 
built-in board drawer with a laid-in softcover booklet (20 x 
20 cm.) giving mostly pictural information about one more 
historical place strongly connected with the history of 
Berlin, the palace of Sanssouci in Potsdam. Nice, soft- 
focused pictures give an impression of the showpieces, the 
palaces and garden architecture built by succesive kings of 
Prussia from the 18* century onwards. In the center of the 
book there is a fold-up, 90-degree pop-up of the sweetest of 
these palaces, the Belvedere, that was the summer residence 
of the kings and is situated on top of a architectural garden 
of rising terraces. A beauty in itself, the palace and the pop- 
up model! 

The production and hand assembly of the Berlin Pack was 
done in China and shows the maturity of the young Chinese 
printing industry that only recently entered the pop-up 
business. The standard set by Carvajal Colombia has surely 
been equaled, I think, by this production, both in the 
professional execution of the complex models and in the 
final finishing touch of tissue guards to protect the models 
and to prevent any sticking. A piece of foam has even been 
inserted to fill a gap left by some paper that unequally 
masses between the pages when folding down. 

The Bigger the Better! 

By Ellen G.K. Rubin 

Scarsdale, New York 

It took three of us to just open the cover! We were 
frightened by the weight and delicacy of this special book 
and somewhat too, by the fact we had climbed over the 
yellow plastic "Keep Out!" strip which was supposed to 
protect this unique object from interlopers . . . like us. 
Looking furtively over our shoulders, Geraldine Lebowitz, 
whose exhibition we were visiting, my sister, Rhoda 
Klein, also a pop-up collector, (same DNA!) and I, the 
curious and New York-pushy, Ellen G.K. Rubin, 
proceeded to turn the 2.5 foot by 4 foot pages in order to 
examine the six spreads of this humongous pop-up book. 

When Ms. Lebowitz's exhibition, "Pop-up," left Ft. 
Lauderdale's Bienes Library, it traveled to the Cornell 
Museum of Art & History/Old School Square in Defray 
Beach, Florida with additional books from the collection 
of Will Ray. This past January, I visited Rhoda and we 
went to see the exhibit. As luck would have it - and I am 
always lucky when it comes to pop-ups - when we arrived, 
coincidentally, so did Geraldine. I was grateful to meet 
this serious collector and have her be the docent for her 
own exhibition. 

In a corner of one of the two exhibit rooms, was a 
make-shift workshop. Here Roger Culbertson, paper 
engineer and founder ofDesignimation, had been working 
to build the world's largest pop-up book, Aesop's Fables, 
illustrated by Peter de Seve. Based on the "Tell Tale 
Theater" series by Running Press (1994), the original 6- 
spread book was 2 inches by 4 inches with an audio tape 
included. According to the Boca Raton/Delray Beach 
News, (Feb 4, 2002), Joe Gillie, director of Old School 
Square, had suggested Culbertson make a pop-up book to 
show museum goers how it's done and, at the same time, 
establish a world record. International Paper provided 
oversized sheets of Carolina C 1 S Blanks, 24 point. (Sound 
right, paper engineers out there?) Culbertson worked over 
200 hours at the museum and at home. He had almost no 
margin for error. "The ratio between the cover and gutter 
space-the gap between the cover board and spine-had to be 
exact in order for each 2-page layout to open flat." 
"Because of the weight," Culbertson explained, " I had to 
make the spine width as narrow as possible." There was 
only one chance to make it work. Luckily, it did. I 
suggested to him that pasting on the cover illustration was 
probably like wallpapering. 

Roger is hoping that THE BIG BOOK, as he calls it, 
will be accepted into the Guiness Book of Records. This 
would be a first both for pop-ups and paper engineers. The 
application has already been filed. There are plans to 
travel with the book to allow as many people as possible 

to enjoy the wonder of it. 

It was at Intervisual in 
1979 that Culbertson cut 
his teeth on pop-ups 
working as a production 
coordinator. His last job 
there was to miniaturize 
the six books in the 
Piehkowski "Dinner Time" 
series. Roger would agree 
he has turned the telescope 
of his life in pop-ups 
around. I'm sure we all 
wish him luck with this 
new endeavor. I'll keep you 


What's in store as 4,000 women per day embark on the 
ride of their lives? Find out while laughing through the 
quirkiest addition to pop-ups for adults, MenOpop, a 
menopause pop-up and activity book. 

Author Kathy Kelly was experiencing full-blown 
menopause while her thirty-something partners wondered 
aloud how to make it a more fun experience for everyone 
involved. Their company, Fill *er Up Productions, Inc., is a 
multimedia entertainment company providing cutting-edge 
content for mainstream media. So the most obvious answer 
became a retro pop-up book, illustrated by the sole male 
member of the company, Peter Straus. "He nowhas honorary 
ovaries," Kelly laughingly confides. 

/ i osant k \ 
( TW TO01H Hum 







MenOpop is engineered by Andrew Baron of Popyrus 
and packaged by Zebra International Productions, Inc. A 
sophisticated salute to the 1960's kitschy children's pop-up 
books, MenOpop is chock full of automatic pops and 
interactive mechanics. (And features quite possibly the only 
pop-up womb printed in the last hundred years!) 

MenOpop can be pre-ordered by mid-March 2002 (with 
a projected shipping date of mid-April) exclusively through 
<>, a menopause entertainment website. 

International Meeting of 
European Pop-Up Afficionados 
Theo Gielen 

The biennial meeting of the European pop-up 
specialists and collectors will take place on April 20, 2002 
in the German town of Recklinghausen. At the last 
meeting in Holland some German collectors and members 
of the Movable Book Society offered to organize the next 
meeting and they recently sent invitations. 

The professionally-designed card, with an intricate 
hand-made pop-up, outlines the inviting program for that 
Saturday and gives the dates, program, and possibilities 
for overnight accommodation in town, printed in both 
German and English. A helpful plan of the town center is 
marked "Kutscherhaus," where the meeting will take 
place, completes the mailing. Invitations have been sent to 
collectors in six European countries, but anyone who 
wants to attend is welcome. 

The theme for the meeting chosen by the organizers is 
"Self-made: Another Kind of Pop-up." On the program 
are presentations by Bodo Boden, a professor of 
architecture from Bochum, Germany, showing 
architectural pop-ups made by his students, and by Mr. 
and Mrs. Tietz reading about their use of pop-ups as an 
educational aid and showing the results made by their 
pupils. Special guests on the program are the paper 
engineer Antje von Stemm and artists Kees Moerbeek and 
Carla Dijs, telling about, but especially showing their 
works-in-progress. "Self-made" also includes the pop-up 
artists' books presented by their maker Mrs. Astrid Feuser. 

Responsible for a special German note in the program 
will be Mr. Irmer, the specialist in the field of so called 
"Patenbriefe," letters, typically German (?), with intricate 
foldings that were given by the godfather at the baby's 
christening. He will show selections from his unique 
historical collection of this ephemera produced primarily 
in the 19 th century. We are sure the promising program 
organized by Dr. Friederike Wienhofer, Mr. and Mrs. 
Ulrich, and Hildegard Tietz will be a wonderful 

Participants are asked to bring a tunnelbook or 
peepshow from their collection to tell about in the round 
of introductions at the beginning of the meeting. Special 
breaks have been planned for mutual acquaintance and 
exchange of books, information, small talk, etc. The day 
will be open-ended so participants can meet and drink 
together after the program. We have heard that several 
participants will be in Recklinghausen the night before for 
informal contacts. Recklinghausen is situated in the 
ultimate west of Germany not far from the Dutch border, 
north of Cologne, easy to reach by all transportation. 

Since the organization succeeded in finding a generous 
sponsor, there is a fee of a mere five Euro ($4.50) asked for 
the whole day. 

Announcement of participation has to be done by self- 
made pop-up card - the best of which will receive an award. 
For those who didn't get an invitation but would like to 
attend, please contact Dr. Wienhofer, Hillen 62, D- 45665 
Recklinghausen, Germany. Tel 00 49 2361 44336. E-mail: 
Ricki Wie@aol .com . 

Julian Wehr Research 

The Middle Tennessee State University (MTSU) Faculty 
Research and Creative Activity Committee has awarded a 
substantial research grant award to two librarians to 
facilitate their efforts to reconstruct the life and 
accomplishments of a forgotten master of American book 
artistry and animation. Roy Ziegler, Librarian for 
Acquisitions, and Dr. Alan Boehm, Librarian for Special 
Collections, will receive $4,000 from the committee to cover 
travel and other expenses associated with what they describe 
as "The Julian Wehr Research Project." 

In the 1940s and 1950s, Julian Wehr created and 
published some 40 illustrated children's books that are 
remarkable for their simple but clever pull-tab mechanisms 
that make parts of the illustrations move back and forth and 
up and down, often in m ultiple directions. Around 9,000,000 
copies of Wehr"s books were sold in the United States and 
Great Britain, and several titles were translated and sold in 
France, Germany, and Spain. Although Wehr's "Animated 
Books" are now prized by rare book collectors and are 
attracting the attention of children's literature specialists, 
Wehr himself remains an obscure figure. "Very little is 
publicly known about Julian Wehr. He died in 1970 and his 
wife Juliette died in 1993," says Ziegler. "It took Alan and 
me four or five months before we finally put our hands on 
biographical information that led us to their three children, 
who've been incredibly gracious and willing to help us tell 
the family story." 

Special Collections currently holds 23 Wehr titles and 
editions. "At this point in time," says Boehm, "I think we 
have more Wehr books than any other academic or research 
library. We're constantly looking for more and we'd like to 
have a comprehensive collection, including the British and 
foreign language titles." The Wehr books are part of the 
Dimensional and Artists' Book collection, which includes 
historical and contemporary pop-up books, movable books, 
tunnel books, and other books that play with the form and 
conventions of book production. 


Signals of a Pop-up 
Revival in Eastern Europe 

Theo Gielen 

During the second half of the 20 th century a large 
number of European pop-up books originated in eastern 
Europe - especially Russia and Czechoslovakia. They 
were done not only by the well-known Voitech Kubasta, 
who did a lot of books now highly appreciated, but by 
others, for example, Jiri Trnka, J. Pavlin and G. Seda. The 
best of all, I think, were done in the 1960s by George 
Theiner and Rudolf Lukes. They made graphical beauties 
with movable parts that automatically move as the book is 
opened, highly undervalued until recently. 

In the second half of the 1980s the flood of Czech pop- 
ups, published at the time in most European languages 
stopped. And since only very few reprints of the Kubasta 
books and some simple fan-folded pop-ups have been done 
there since. 

For a couple of years a modest revival can be spotted in 
eastern Europe. A new start came in the mid-1990s from 
Hungary when Lazlo Batki engineered some books for 
Intervisual (King Arthur's Camelot, The Fairytale 
Village), and also Krisztina Nagy got her chance at 
Intervisual Books with her Fuzzy Bear books. From 
Czechoslovakia came the great, highly artistic books with 
pop-up and novelty elements by Kveta Pacovska, described 
by me in earlier reports from the Frankfurt Book Fair. 

In one of the Frankfurt reports I also described my 
enthusiasm for a wonderful dummy of a pop-up history of 
architecture shown to me by Graham Brown (from Brown 
Wells and Jacobs) but not published since it, 
unfortunately, came into the market at the same time as 
Ron van der Meer's Architecture Pack. 

What a surprise it was this year to find in Frankfurt a 
stand of the publishers Kibea from Sofia in Bulgaria who 
possessed not only the rights to the acclaimed 
architectural dummy but to some other dummies from the 
same maker. Anton Radevsky, the paper engineer of 
whom we speak, appears to be a locally well-known 
illustrator who had published other (mostly adult 
reference) books illustrated in an almost photographic 
way. Just before the Fair the German company of 
Konemann published (in ten different languages!) his first 
pop-up book, The Pop-up Book of Spacecraft (3-8290- 
4864-5), a title that was announced two years ago. 

Kibea Publishing showed me once more the well-used 
dummy of his The Wonders of Architecture, and the great 
dummies of two other pop-up books for adults, done again 
entirely by Radevsky (text, illustrations and paper- 

engineering) but all of them still unpublished. There was an 
intriguing Automobile: The Pop-up Book, offering a highly 
technical view under the automobile's hood, from 1900 
classics to an ultra-modern Formula 1 racing car with a 
futuristic design. 

A fourth design had a highly unusual theme for a pop-up 
book, The History of Weapons offering an illustrated history 
of both blank and firearms of all times. Swords, axes and 
spears move and can even be thrown by ingenious 
mechanisms. An impressive tournament of medieval knights 
pops up and moves. The legendary Colt can be taken from 
its case and its use in the Wild West is unraveled. The latest 
police weapons and equipment are shown and their workings 
demonstrated, and the achievements ofknown and unknown 
weapon constructors revealed. The publisher's blurb reads, 
"All mechanisms in the book are completely safe." Once 
more a very desirable item and we only hope all Radevsky's 
books will get published another year. 

A rather memorable contact was made with the 
Publishing House Petr T. Annenkov from the former Soviet 
Republic of Uzbekistan. They showed a not-too-bad fan- 
folded pop-up book Uzbek Fairy Tale: The Clever Daughter, 
done in the Slavic style of illustration as we know from 
Kubasta, and also borrowing from him the built-in movable 
parts. When I tried to buy a copy of the book (it would have 
been a rather exotic item in the collection), they shameless 
asked $300 US for it, since "the young republic needed 
foreign valutas." In further inquiry I learned that this price 
was without any right of reproduction as I had thought for a 
moment that might explain the extremely high price! 

The most unexpected find, however, was at the stand of 
a Polish publisher. As far as I know, in the past Poland did 
not do any pop-up book publishing, as the publisher I spoke 
with, admitted. But now out of nothing comes a beautiful 
pop-up book, done in bold red, blue, and green colors 
partially heightened with gold as known from Russian (or 
Slovakian) folk art. It is a terrific item, engineered by the 
Polish architect Mrs. Alma Sacowska, illustrated by Artur 
Lobus and published as Szopka Krakowska (Krakow Nativity 
Scene) (88-7162-706-8) by the publishing house of 
Siedmiorog in Wroclaw, Poland. It has a retail price of a 
mere $20.00! Imagine a double-tied carousel book in the 
style of Keith Moseley's Victorian Doll House, with an extra 
text booklet laid in the front cover opening into a bright 
traditional Polish stable but looking more like a three 
stacked palace with arcades and balconies crowned by 
"onion" towers that slide out above. The front cover contains 
another, bigger middle tower in two parts that has to be put 
on the front of the stable and completes the whole. Including 
the set-up golden "onion" and its bold red spire, the book 
measure about 80 centimeters high. Another 16 press-out 
figures complete the book. 


The production of 25,000 copies of the book was (still) 
done in Colombia. It is really something completely 
different from what has been seen until now in the world 
of pop-up books! It is highly collectible indeed. Since it is 
difficult to get a Polish book in your local bookshop, I 
have made an arrangement with the publisher and he will 
send copies directly to the members of the Movable Book 
Society. Order by e-mail from <> 
referring to this publication and the publisher will send 
you a parcel with the book and an accompanying invoice. 
Promise to remit payment immediately! Payment by credit 
card is not possible. 

When these are just the first signals of what we can 
anticipate from eastern Europe, it could well be that a 
"third golden age of movable books" will come from there. 

Frankfurt Book Fair, continued from page 3 

The Names 

The difficulty in getting the more elaborate 
(collectable) pop-up books published was reflected in the 
absence of several big names in this year's Fair. In 
random order and without any pretense of completeness 
we review the people who make pop-ups. From the great 
old man in paper engineering, Keith Moseley, we saw 
some dummies at Aladdin Children's Books that we had 
seen there last year, The Haunted House, The Enchanted 
Castle and The Traditional 1 9th Century Farm. They are 
highly innovative but are still unpublished. 

Ron van der Meer was completely absent. Last year 
his newest titles were displayed in the showcases at the 
stand ofTango Books. Rumors abounded about an internal 
reorganization within the company, but we couldn't verify 
it. [See "Whizz and the Web" in this issue.] After the 
Formula 1 Pack, Van der Meer Books published only the 
Parascience Pack ( 1 -9024 1 3-52-0), written by Uri Geller; 

The Cook Pack (1-902413-38-5), in cooperation with the 
well-known BBC cook Gary Rhodes; and Drug Aware: 
Every Person 's Guide to Understanding Drugs (1-902413- 
35-0). Unfortunately all three are of diminishing interest for 
pop-up lovers. 

Robert Sabuda had two new "Young Naturalist Pop-up 
Handbooks," done with his partner Matthew Reinhart and 
published by Hyperion Books. Unfortunately the company 
didn't bring either of them to the Fair, so I haven't seen 
them yet, Beetles (07868-0557-9) and Butterflies (0-7868- 
0558-7). Simon and Schuster announced for next fall a 
Sabuda interpretation of The Night before Christmas. 

James Diaz, attending the Fair with his company White 
Heat, told us he would be at the Bologna Children's Book 
Fair in spring 2002 with some new projects. He showed the 
design of a cover for a new Chuck Murphy pop-up book, 
Animal Babies: A to Z. 

An unconventional, funny Flapdoodle Dinosaurs: A 
Colorful Pop-up Book (0-689-84643-6) by David Carter 
was shown at the stand of Simon and Schuster. From him I 
saw also Old Mac Donald Had a Farm: Pop-up Book (0-439- 
26468-5) published under the Scholastic imprint of 
Cartwheel Books. 

At Macmillan's (it is always difficult to have a peek at 
their new projects) I saw at least one great new pop-up, 
Alice's Theatre Wonderland Book, illustrated by Alex 
Viking, designed and paper engineered by Nick Denchfield. 
The "book" opens into a complete toy theater with a pop-up 
book built in. The spreads of the book appear, when opened, 
to be the scenery in which, successively, all the scenes of the 
Alice story can be played by the use of loose figures on 
sliding strips. There is an accompanying Alice 's Book of 
Play Scenes with the complete texts of the plays to perform. 
A great item and for me one of the best designs I have seen 
this year. It will be out next fall. 

Bruce Foster did the paper engineering for Marjorie 
Priceman's version of Little Red Riding Hood {0-689-83 1 16- 
1 ), this year's "Classic Collectible Pop-up" from Simon and 
Schuster. This company also announced a new book from 
Carla Dijs, Mommy, what if...? (0-689-84692-4), to be 
published in April. 

Kees Moerbeek had two new "Roly Poly Box Books" 
published by Child's Play, Little Box of Horrors (0-85953- 
842-7) and Countdown to Christmas (0-85953-844-3), like 
the three earlier titles in this innovative series reprinted in 
the new, larger size of 85 x 85 x 85 mm. Simon and 
Schuster announced a promising Moerbeek interpretation of 
the classic fairytale. The Diary of Hansel andGretel (0-689- 
84602-9) to come in the summer of 2002. 


David Hancock's company didn't have a stand this 
year, though he himself was spotted at the Fair. 
Unfortunately I didn't meet him, so I don't know what his 
new books will be. 

Jan Pienkowski popped up with several new books. I 
have seen the dummies of Pizza: A Yummy Pop-up, Two 
by Two: A Pop-up To Sing To, and Goodnight, all to come 
out next year from Walker Books. 

At Matthew Price's stand was The Cat with 9 Lives 
with paper artwork by Steve Augarde and Helen Balmer, 
including a great remake of the well-known pop-up of a 
cat rowing a boat out of the mouth of a huge whale as 
done by Harold Lentz (but here not credited for it) in his 
1930s Pinocchio. Steve Augarde proves to be a hard 
worker. He is one of my favorite engineers because of his 
seemingly simple but tricky techniques. He showed at 
Matthew Price's the dummies for First Week in 
Playschool, reflecting that experience in a fun way, and 
Garage, with a great folding door and an astonishing car 
lift operated innovatively by the turn of a wheel at the 
bottom of the page. He recently also published a series of 
four turn- wheel ies, Monster Books, teaching basic 
concepts like opposites, colors, shapes and numbers. 

Part 2 of this article 
will be the May issue 

W all v Hunt, continued from page 2 

W: Yes, Eitel-McCullough, the electronic tube 
manufacturer in San Bruno, that made the radar tubes, 
also made radio-transmitting tubes and they set up the 
first FM station in Northern California. The transmitter 
was on Mount Diablo across the Bay. I was disc jockey 
there for about six months. 

K: And then you went into advertising, right? How did 
that happen? 

W: Yes, then I came to Los Angeles and met a friend of 
mine, Jack McNaughton. He was in the agency business 
and we formed our own advertising agency in 1948. 

K: So when you joined with your friend, you went in as 
one of the creative talents coming up with ideas, and — 

W: Our agency consisted of the two of us, so we had to be 
very creative and do a little bit of everything. 

K: What was the name of the agency? 

W: Well, this is so funny. We were a couple of kids and 
we wanted to sound important, so we chose the name 

Consolidated Advertising Agency. It was a good name for a 
gravel company. Later, we merged with another fellow and 
we became Vanderboom-Hunt-McNaughton. That was a 
pretty good advertising name. J. Walter Thompson isn't bad 
either. But we split up and I started W.H. Hunt and 
Associates, and I was quite successful. The hot rod 
movement had just started here in southern California. A 
fellow named Bob Peterson came out with Hot Rod 
Magazine, Motor Trend, Motor Life, and so on. We did a lot 
of mail order advertising in those magazines. 

K: We're talking about two-dimensional advertising at this 

W: Yes, that's all. But we were quite successful and 
eventually I had the first agency in the country that had 
Volkswagen as a client. In 1956, I sold my agency to 
Compton Advertising of New York, which is one of the 
major New York agencies, and became the manager of their 
Los Angeles operation. I worked very hard developing 
Volkswagen, but we lost that account in 1960. I was really 
disgusted because the agency business was like quicksand. 
That's advertising. How do you get a competitive advantage? 
A friend of mine and I formed a company called Graphics 
International. I went to Japan and convinced two of the three 
largest Japanese printers that we could sell their printing in 
the United States. This was fifteen years after the war and 
only McGraw-Hill was printing in Japan because they were 
printing in the Japanese language. I brought this to show 
you. Publishers Weekly put out a special issue on the Orient, 
the Asia-Pacific 2000, and they wanted a picture of me. So 
I dug around and came up with this one. This is a catalog of 
all the printers and printer's reps in Japan, Taiwan, Hong 
Kong, Singapore and Korea. 

K: Were you married at that time? 

W: Oh yes. I married in '52. Now, this is another side of my 
life. I married a girl at work at Eitel-McCullogh six months 
before I went overseas in 1944. As happened so often in 
those days, that didn't last very long. So I came back and 
married almost the first girl I met. We had a big reunion, 
and a fellow said to me, "Did you know Marcia Wolf?" And 
I said, "Did I know her? I married her." And he said, "How 
long were you married?" And I said, "About fifteen 
minutes." Then I met Pat, whom you'll meet tonight. We've 
been married for 47 years. And that's that side of the story. 

K: How many children do you have Wally? 

W: I have three. One by the second marriage, Marcia Lois, 
and Pat and I have two daughters. 

K: I know the name Kim because David (Carter) talked 
about her. 


W: Kim and Jamie. And Jamie could be here today. Kim 
and her family are living in Springville, which is north of 
Bakersfield, near Portersville. 

K: So, do we define you as a businessperson or creative 
person first? 

W: I think my strength is actually to do both, hand in 
hand. I'm a creative businessman. Let me give you an 
illustration. When I started the pop-up book business with 
Random House Books, they were all one size and one 
shape. And when I developed the Hallmark line of pop-up 
books, they were basically one size and one shape. When 
I started Intervisual in 1974, everybody said why are you 
doing this, because Hallmark and Random House already 
have the business. When you look around this room, you 
will see that they really didn't have all the business and 
you also won't see many of that one original size. You 
have to be creative to develop new formats, new ideas, and 
new panoramas. So that's my innovation, a creative 

K: I don't think a person starts an advertising agency and 
succeeds unless there is that creativity. 

W: In the advertising business it's absolutely the same 
thing. You have to be creative. To survive you have to be 
a mail order expert, a television expert, a public relations 
person — you have to be all things to all people. And the 
minute you come up with a great campaign they want to 
know what's the next idea. It's a tough business, but 

K: When you started Graphics International, was there a 
thought of dimensional work? 

W: No, not then. We had a Max Factor calendar in 
sixteen languages. We produced it in Japan and shipped 
it around the world. But that's the whole point. After a 
year, we found out that if it was a really big printing job, 
we could do it cheaper in Chicago. There were too many 
headaches - the communications. So, I had to find a 
solution. Then I saw the Czechoslovakian books, the 
Kubastas. Roger Schlesinger was importing them here and 
the minute I saw those I said, "My God, there's the 
answer." It became obvious that the only thing we could 
do successfully in Japan was something that was labor 
intensive, because labor costs were very cheap. So, being 
an advertising man, when I saw Czechoslovakian books, 
I said there it is: magazine inserts, supermarket displays 
and all. So I started an industry. 

K: Did you do any pop-up books at that time? 

W: I wanted to do books, but I couldn't. It took me five 
years to get a publisher to buy eight pop-up books. But I 

was so successful with the commercial pop-ups that I had to 
move my company to New York. We were also doing a lot 
with Hallmark - greeting cards, table decorations, 
dimensional displays. 

K: Could you tell me about a three-dimensional advertising 
project from that time of which you were particularly proud? 

W: Oh yes. We did. I have a scrapbook full of all of this. I'll 
show you. We have some of it on display. Look at this 3-D 
electric typewriter. 

K: Yes, I thought that was marvelous. So that was actually 
a selling tool, a pop-up salesman's sample? 

W: Sure. I mean they couldn't carry the typewriter around. 
It was this big and just opens up like that. And we did the 
Wrigley Zoo for Wrigley Chewing Gum. 

K: Are those the pop-ups that appeared in Jack and Jill 

W: Right, Jack and Jill. I think we did thirteen of those 
inserts at a million each. We bought them for seven cents 
and sold them for eleven cents a unit. That's what started my 
moving the company to New York. And the big turning 
point on books was Bennett Cerfs Pop-Up Riddles for 
Random House, supposedly using his jokes - which we 
wrote. (Everyone laughs.) They were corny. "Why does a 
duck fly south?" "Because it's too far too walk." "What 
happens to a duck when it flies upside down?" "It quacks 
up." Anyway, we did that book. We sold a hundred thousand 
to General Foods as a premium. 

K: Yes, I think it was an instant Maxwell House book. 

W: We paid Bennett Cerf a royalty of 1 1 cents per book. He 
was so thrilled with the book he bought fifty thousand for 
Random House, and that was the start of the revolution in 
pop-up books. Within two years we did 33 books, I think. 

K: Did you know Bennett Cerf personally? 

W: Yes I did, and I worked with Chris Cerf, his son. He 
worked with us quite well. He's been with Sesame Street for 
years in New York and now has his own television show. 

K: And then Riddles was followed by Bennett Cerfs Silliest 
Riddles and Bennett Cerfs Limericks. Were all those written 
by your group? 

W: My group. 

K: Were any of them actually written or collected by Bennett 


W: No. Bennett Cerf did nothing - he was too busy and 
the chairman of Random House and appearing in the TV 
show "What's My Line." Everybody remembers him from 

K: So the Random House Classics Series was really dear 
to your heart . . . 

W: Yes. Let me tell you an interesting story about that. 
The first books we did using our internal artists, my own 
staff. Then we got to New York and used a couple outside 
artists, and the first thing I knew, these guys were going 
to every publisher in New York, saying "I'm the guy who 
did the pop-up books." I said, "Boy, I've got to stop that." 
I was looking for the competitive advantage. I had the 
only gig in town. I was producing books for Random 
House, and I didn't want the other publishers jumping in. 
So I moved all the art production back to the Elgin Davis 
Studios in Los Angeles. Elgin was my original partner and 
he did 20 books in his studio including Human Body, all 
the Classics. 

K: You know, his isn't a name I recall being on the books. 
I remember Albert Miller and Paul Taylor being given 
credit on many of those books. 

W: Davis' name never appeared anywhere. But he had the 
number one commercial art studio west of Chicago. He 
was co-founder of Graphics International. Albert Miller, 
I think, wrote the text for most of the Random House 

K. Davis was doing the actual artwork? 

W: His studio did the artwork, and they did it in a manner 
that would make anyone in the business today cringe. He 
had some artists painting the backgrounds, some doing the 
people — that's how we were able to get books out fast. 
They were a team. 

K: You were the Henry Ford of the pop-up world. 

W: What happens to us today is we hire an artist to do a 
book and sometimes it takes him over four months to do 
the art, and they do the whole thing. So it was a little bit 
like these people were going to the Orient and painting 
old masters with a whole assembly line of people. But they 
came out extremely well 

K: They're great books. 

W: And there has seldom been an operation like that. 
Well, there are the Meggendorfers and the Nisters. Nister 
did that because you almost never saw anyone credited 
with the art in the Nisters. He had different people doing 
different pieces and putting it together. 

K: And weren't Gwen Gordon and Dave Chambers artists 
on your Random House series? 

W: Yes, they worked for Elgin Davis. 

K: And Paul Taylor - was he doing the engineering? 

W: Paul was a designer and illustrator - a very creative guy. 
We had paper engineers. lb Penick was one. 

K: Oh, there's a great name. 

W: lb was a genius and the father of modern paper 
engineering. I probably kept Graphics International as the 
only game in town for ten years by taking it out of New York 
and bringing it back to Los Angeles. I'd say it was at least 
ten years, 1975, before other publishers started publishing 
pop up books. And I took both the Random House and the 
Hallmark books overseas and sold them to international 
publishers in Italy, France and Germany. I started that in 
1 967, 1 969. By 1 980, Random House was out of the business 
and Hallmark was out of the business. And I was dealing 
with 20 publishers in the United States, producing books. In 
1 964, 1 moved Graphics International to New York. In 1966 
Hallmark bought Graphics International and I moved the 
company to Kansas City in 1969. 

K: What did you do in Kansas City? It seems that whatever 
you were doing, you were usually the head of it. 

W: And I was. I continued as the President of Graphics 
International, but we were owned by Hallmark. 

K: It seems you had a lot of independence even though you 
were under the banner of Hallmark? 

W: Right. I had to give up the books I had done for Random 
House. When I got to Kansas City, Hallmark said we want 
you to create a line of pop-up books for us, which put 
Hallmark in conflict with Random house. So I gave up all 
the rights to those books to Random House. A fellow named 
Jerry Harrison continued with Random House. So I lost my 
right hand man. 

K: Okay, I need to go back a little bit. Do I have it straight 
that lb Penick worked on the Random House Classics series? 

W: Yes. He was terrific. He was the premier paper engineer 
of the company. Tor Lokvig was Ib's protege. 

K: Oh, is that right? So did you meet Tor at that time too? 
Was he working with Id then? 

W: He joined us. lb came with me in 1962 and I think Tor 
probably joined us then, and when I moved the company to 
New York in 64, I moved them and their families. Tor is 


now doing freelance work for Intervisual 
Communications, our sister company in Santa Monica, 
with his Tor's daughter, Noelle. Dave Carter met Noelle 
at Intervisual and they were married. 

K: In 1967, you did Andy Warhol 's Index Book. That was 
early on. 

W: Christopher Cerf was the man at Random House who 
was responsible for that book. We were concerned when 
we did the Warhol because we were owned by Hallmark at 
that time and Mr. Hall wouldn't have approved of that, 
I'm sure. Copies of the Andy Warhol book now sell for 
$800 to $1,000. We also did the Pornographies. Are you 
familiar with Pornographies? They had acetate overlays 

K: Yes, I've seen it, the satire on the art classics, the old 
masters. I probably have it now. 

W: That was one of the unusual classics. 

K: It's clever; it's funny. Then Dr. Doolittle came out and 
that book had Hallmark on it so some arrangements must 
have been made. 

W: That book and Chitty Chitty Bang Bang are the only 
two books that Hallmark and Random House have done 
cooperatively. Hallmark sold them in the greeting card 
stores and Random House in the book trades. So there are 
some of those books with Random House on it and others 
with Hallmark on it. The Hallmark version was also sold 
overseas. Bob Bernstein, who was actually running 
Random House, took me to lunch at the Four Seasons in 
New York and said, "Wally, I know that you have been 
asked to move to Kansas City, but we would like you to 
join Random House instead and I very sincerely think that 
I can sell the idea of your handling the book trade and 
Hallmark handling the greeting cards." I assured him that 
I believed I could put these two companies together. But, 
of course, when I arrived in Kansas City, I learned that 
Hallmark was not going to share any market with Random 
House. Still, it was a great idea and it would have worked 

K: So you were in Kansas City with Pat? Did you have 
children then? 

W: Yes, when we moved to Kansas City, Kim was eleven 
and Jamie was nine. 

K: Let me put it bluntly. It's hard for me to imagine you 
in Kansas City. 

W: Well that's because you don't know Kansas City. We 
lived in Shawnee Mission, Kansas. You know, there is one 
street that divides Missouri and Kansas. Shawnee Mission 

was comparable to Hillsborough or Bel Air. It was absolutely 
beautiful. We had a mansion. 

K: So you liked Kansas City? 

W: The weather is terrible, but it was a good experience. We 
also like Scarsdale, New York where we lived for five years. 

K: It sounds as though you like where you are at the time. 

W: Yes, we are pretty good at liking where we are — where 
you develop friends. Hallmark is a wonderful company. I am 
a maverick, always have been, so Kansas City wasn't a good, 
permanent place for me. They have Hall's Department store, 
which is the best department store in Kansas City. They also 
take care of your insurance. It's like you are in the womb 
when you are in Kansas City. But I was never really 
accepted. Graphics International was never in the main 
Hallmark building. We were in a special building downtown 
so that we did not contaminate them. Anyway, it was a great 
experience, but I had been in business for myself for most of 
my life and secretly wanted to be on my own again. 

K: You say that you're a bit of a maverick - you like to be in 
charge. You're an idea person and you know where you 
want to go. 

W: Yes, definitely, and we put out some nice books in 
Kansas City. 

K: You were producing in Japan at that time? 

W: In Japan, but the labor costs were going up. We started 
in 1960, and by 1970, labor was prohibitive so I started in 
1968 in Columbia, South America and in Singapore. 

K: When you were searching for places to produce books, 
were you physically getting on planes and talking to people 
or did you send people? How does that work? 

W: 1 did a lot of traveling. In 1969, I traveled for six 
months. I was producing in Singapore, some in Japan, some 
in Columbia, South America, and I also set up production in 
Italy. I used to go to New York and then to Paris, London, 
then Munich, Verona, and then back home. 

K: And your children were small at that time so they 
probably could not travel a lot. 

W: No, not a lot, but I took the whole family to Japan in 
1966, and I took them to Europe in 1967, and in 1968 we hit 
all the spots. 

K: Since your children have grown, has Pat been able to 
attend the Bologna Book Fair with you? 


W: Many, many years, both Bologna and Frankfurt. 

K: So those are good memories? 

VV: Yes, and I can't even get her to fly to Hawaii now. She 
is done. No more airports. 

K: In the weeks leading up to Bologna, when you are 
getting ready for the Fair, what is it like here at 
Intervisual? You mentioned that usually you are taking 
products to show. What is it like in the prep time? 

W: It's like the rest of our business; it's all done at the last 

K: It's a little bit wild then? 

W: Yes it's wild. The cycle is very long. It's almost a year 
from concept to the finished book going to press. We may 
take 30 new books to Bologna, but these aren't in finished 
form. We make prototypes of our new books and take 
them over and sell them to the publishers. When we have 
sufficient acceptance, then we go ahead and finish the 
books and deliver them in the fall of the next year. We do 
the same thing in Frankfurt. 

K: So that is the very important time when you find out 
which products you will take into production? 

W: Yes. We may have 30 new books, but we also sell our 
back list and reprints of the books that they have bought 
in the past. Fifty per cent of our business is done each year 
with reprints, backlists — such as reprints of Haunted 
House. We have produced over 1,300 books. Probably 300 
of them are still active, still being reordered from these 
different countries. For example, we have been selling 
Sailing Ships for 1 8 years and we will still get a couple of 
orders on it. If we can get a total of 10,000 for a book, 
then we can reprint it. 

K: Is that what a printing needs to look like? 

W: A few years ago it was 20,000, now it is down to 
1 0,000. It used to be that we wouldn't even do a new book 
unless we could anticipate a 100,000 print run. Now it's 

K: And that is a profitable number? 

W: It can be, yes. 

K: Why has it changed? 

Part two of this interview will 
continue in the May issue 

Questions and Answers 

Q. Did you know that at this time of year the studios spend 
great sums of money trying to convince members of the 
academy to vote for their movies? Two issues of the 
Hollywood Reporter contain wonderful pop-ups touting 
Shrek. The first pop-up appeared in the November 1 9, 200 1 
issue. The other pop-up, which also contains a star that 
lights up, was in the December 1 7, 200 1 issue. Back issues 
are available for $5.50 each and may be obtained by writing 
to the Hollywood Reporter, 5055 Wilshire Blvd., Los 
Angeles, CA 90036-4396. Attn: Back issues department. 

Frank Gagliardi 
Plainville, Connecticut 

Q. Where's Robert Sabuda? Check his new web site at 
<>. Log on for sneak peeks of 
Robert's upcoming projects, browse the gift shop, get free 
stuff, and enter contests to win signed books and original art. 
Ann Montanaro 
East Brunswick, New Jersey 

Q. Can anyone give me any information about a book I 
recently acquired. It is an French edition of Gulliver's 
Travels from about 1 850 and it has removable illustrations. 
It is shown on my web site at: <>. 
Ellen Rubin 
Scarsdale, New York 

Q. Have you seen the play with a pop-up book? An article 
in The New Yorker (November 1 3, 2000) described Sir Peter 
Hall's adaptation of John Barton's epic ten-play cycle 
"Tantalus," which traces the Trojan War. The 13 -hour 
marathon staged in Denver, included a scene "where the 
sacking of Troy is described. . . The Storyteller opens a pop- 
up book that shows Troy's parapets then sets the book on 

Rachel Kopel 

San Diego, CA 

Q^ A reader has a pop-up display for Babette Cole's 
Doubleday book Don 't Go Out Tonight. It is a 13 x 20-inch 
cardboard display and the pop-up section is 12 x 8'/ 2 inches. 
If you are interested, please contact me and I will refer you 
to the reader. 

Ann Montanaro 

Q. I recently purchased a product called Glue Dots, "super- 
sticky, double-sided, pressure-sensitive adhesive" dots. They 
are "permanent and acid free" and look like they could be 
used for simple pop-up repairs. Has anyone had any 
experience with them? 

Anne Williams 

Lewiston, Maine 


Q. I have an incomplete copy of an article entitled 
"Jonathan Miller, man of all trades, pops up with a new 
book about 77*5 Facts of Life. " From the copy 1 cannot 
identify the original publication. The article began on 
page 1 1 land ended on page 114. If anyone has pages 1 12 
and 113, and the name of the journal where the article 
appeared, I would appreciate receiving copies of the 
missing pages or the full citation. 

Ann Montanaro 

Day and Night. (Pop-Up Prayers Series). February. $7.99. 

18 pages. Augsburg Fortress Publishers. 


Also: The Food We Eat. 0-80664-371-4. 

People Who Love Us. 0-80664-369-2. 

The World Around Us. 0-80664-370-6. 


co = 


to I 

Diary of Hansel and Gretel. By Kees Moerbeek. April. 12 co 
pages. Little Simon. $12.95. 0-68984-602-9. 

Q. The newsletter announced before the New York 
convention last year that Simon & Schuster was running 
a contest for unpublished pop-up artists to submit a book 
proposal and, if chosen, the artist would have it published. 
Was a winner selected? 

Lin Sasman 

Boston, Massachusetts 

Easter Egg Hunt. Little 
Simon. 8 x 8". $5.99. 

Farm Machines Pop Up. By 
Jane Wolfe February. £4.99. 
Orchard Books (UK). 

Catalogs Received 

Books of the Ages. Catalogue #30. Gary J. Overmann. 
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, Ohio 
45103. Phone: 513-732-3456. 

Jo Ann Reisler, Ltd. Catalogue 56. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 

New Publications 

The following titles 
have been identified from 
pre-publication publicity, 
publisher's catalogs, or 
advertising. All titles 
include pop-ups unless 
otherwise identified. 

Big Dig: A Pop-up 
Construction. By Paul 

Stickland. May Ragged Bears. 1 1 x 9". 7 spreads. 

1 -929927-4 1-x. $16.95. 

Big Machines Pop Up. February. £4.99. Orchard Books 
(UK). 1-84322-045-8. 

Clifford I Love You Pop-up. By Norman Bridwell. 
$7.99. 10 pages. 8'/ 2 x 8'/ 2 ". Scholastic. 0-439-36774-3. 
[This is a large reprint of the 1994 book Clifford's Tiny 
Pop-up I Love You. J 

Funny Farm: A Mix-Up Pop-Up 
Book. By Keith Faulkner, 
Jonathan Lambert (Illustrator). 
March. 5 pages. $7.95 .Cartwheel 
Books (Scholastics). 

Also: Jumbled Jungle: A Mix-Up 
Pop-Up Book. 0-43930-90^-4. 

Hop on Pop-Up. By Dr. Seuss. April. $6.99. Random 
House .0-37581-547-3. 

Mommy, what if. . . ? By 
Carla Dijs. April. 14 
pages. $8.99. Little 
Simon. 0-68984-692-4. 

Mouse House: An 
Extravagant Lift-the-Flap 
Hide-and-Seek Adventure! 
May. Handprint Books. 10 
x 10". 7 spreads. $12.95. 

Mouse in the House: Pop-Up Playset. $16.95. Piggy Toes 
Press. 1-58117-156-0. 

The Pop-up Commotion in the Ocean. By Giles Andreae. 
May. 14 pages. Orchard Books (UK). Amazon price 
£9.99. 1-84121-738-7. 

Valentine 's Day at the Zoo. 7 x 8". Little Simon. $5.99.